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Before he was tormenting Greendale students or running a criminal enterprise in Las Vegas, Ken Jeong was a doctor. The actor will return to his roots for NBC, where he will produce and star in a medical comedy based on his life, called Dr. Ken. Jeong is currently starring on the cult-favorite Community, where he plays former Spanish teacher and all-around psycho Ben Chang. The upcoming fifth season is rumored to be its last (although defeatist attitudes have never stopped Community from being renewed before, and since the two shows share a network, it would be possible for Jeong to work on both projects). So, human beings, there's a chance that nothing will Chang at all.
However, the real question surrounding Dr. Ken is whether or not Jeong will be able to carry a show by himself — after all, he's made his name playing supporting characters who are completely insane. While the character of Chang was consistently hilarious for the first two seasons of Community, he became exhausting as weekly behavior got more and more outlandish. As far as the Hangover franchise goes, Jeong's Mr. Chow becomes less entertaining the longer he is onscreen. If the actor's new character is going to be the focus of Dr. Ken, it would be the perfect opportunity for him to showcase some restraint... otherwise, Jeong's schtick will get old long before the first season finishes its run.
It will also be interesting to see the kind of audience that Dr. Ken will get, as Jeong is much more famous for his character work than his stand-up. His comedy is rather divisive, so even if he's guaranteed some crossover from Community or Hangover fans, there's no real way to tell yet whether or not Jeong will be able to pull in new viewers as well. Although changing that title before the show's run will probably help a good deal.
More: Jonathan Banks Cast in Fifth Season of 'Community''Orange is the New Black' Exists in the Same Universe as 'Community'Dan Harmon Returns as 'Community' Show Runner
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While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]

The Amazing Spider-Man would prefer if you didn't call it the fourth Spider-Man movie. See this ain't the Spider-Man your older brother knew from ten years ago — it's a reboot. The latest adventure to feature the comic book webslinger throws three movies worth of established mythology straight out the window swapping the original cast with an ensemble of fresh faces and resetting the franchise with a spiffy new origin story. "New" in the loosest sense of the word — the highlights of ASM mainly a sleek new design and spunky reinterpretation of Peter Parker (Andrew Garfield) and gal pal Gwen Stacey (Emma Stone) are weighed down by overpowering sense of familiarity. Nearly a beat for beat replica of the 2002 original with some irksome twists of mystery thrown in Amazing Spider-Man fails to evolve its hero or his quarrels. The film has a great sense of cinematic power but little responsibility in making it interesting.
We're first introduced to Peter Parker as a young boy watching as his parents rush out of the house in response to a hidden danger. Mr. and Mrs. Parker leave their son in the care of his Aunt May (Sally Fields) and Uncle Ben (Martin Sheen) who raise him into Andrew Garfield's geeky cool spin on the character. Parker's a science whiz but faces the challenges of every day life — passing classes talking to girls the occasional jock with aggression issues — but all of life's woes are put on hold when the teen discovers a new clue in the mystery behind his parents' disappearance. The discovery of his dad's old briefcase and notes leads Peter to Dr. Curt Connors (Rhys Ifans) a scientist working for mega-conglomerate Oscorp and his Dad's old partner. When they cross paths Connors instantly takes a liking to the wunderkind and loops him into the work he started with his father: replicating the regeneration abilities of lizards in amputee humans (Connors is driven to reform his own missing arm). But when Parker wanders into Oscorp's room full of spiders (a sloppily explained this-needs-to-be-here-for-this-to-happen device) he receives his legendary spider bite that transforms him into the hero we know.
Director Marc Webb (500 Days of Summer) desperately wants Amazing Spider-Man to work as a high school relationship movie but with the burden of massive amounts of plot and mythology to introduce the movie sags under the sheer volume of stuff. Stone turns Parker's object of affection Gwen Stacey into a three-dimensional character. Whenever they happen upon each other an awkward exchange in the hallway a flirtatious back-and-forth in the Oscorp lab (where Stacey is head…intern) or when the two finally begin a romantic relationship the two stars shine. They're vivid characters chopped to bits in the editing room diluted by boring franchise-building plot threads and routine action sequences. Seriously Amazing Spider-Man another mad scientist villain who uses himself as a test subject only to become a monster? And another bridge rescue scene? Amazing Spider-Man desperately wants to disconnect from the original trilogy but it's trapped in an inescapable shadow and does nothing radical to shake things up. Instead it settles for the same old same old while preparing for inevitable sequels instead of investing in its dynamic duo.
There's a sweet spot where the film really hits his stride. After discovering his spider-abilities Peter hits the streets for the first time. He's superhuman but still a headstrong teen full of obnoxious quips and close calls with shiv-wielding thugs. The action is slick small and playful Webb showing us something new by melding his indie sensibilities with big scale action. If only it lasted — the introduction of Ifans reptilian half The Lizard implodes Amazing Spider-Man into incomprehensible blockbuster chaos. A gargantuan beast wreaking havoc around New York City promises King Kong-like escapades for the friendly neighborhood Spider-Man but the lizard man has other plans: to rule the world! Or something. Whatever it takes to get Lizard and Spider-Man fighting on the top of a skyscraper over a doomsday machine — logic be damned.
Amazing Spider-Man peppers its banal foundation with great talent from Denis Leary as Gwen's wickedly funny dad and the police captain hunting down Spider-Man to Fields and Sheen as two loving adults in Peter's life to Garfield and Stone whose chemistry demands a follow-up for the sake of seeing them reunited. But it's all at the cost of putting on the most expensive recreation of all time with new demands imposed by the success Marvel's other properties (except that franchise teasing worked). Amazing Spider-Man introduces too many ideas that go nowhere undermining the actual threat at hand. No one wants to be unfulfilled but that's the overriding difference between the original movie and the update. You need to pay for the sequel to know what the heck is going on in this one.
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Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
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When crafting a follow-up to the highest-grossing R-rated comedy of all time it’s understandable that one might be reticent to mess with a winning formula. But director Todd Phillips and writers Craig Mazin and Scot Armstrong seem to have confused revisiting with recycling: The Hangover Part II so closely mirrors its blockbuster predecessor in every vital aspect that it can scarcely claim the right to call itself a sequel.
The only significant new wrinkle introduced in Part II is its setting: Bangkok Thailand a location that at least theoretically augurs well for a second helping of inspired lunacy. The story structure of the first film has been copied wholesale a game of Mad Libs played with its script. The action is again set around a bachelor party this time in honor of buttoned-down dentist Stu (Ed Helms). Again the boys (Stu Bradley Cooper’s boorish frat boy Phil and Zach Galifianakis’ moronic man-child Alan) awaken the next day in a hideously debauched hotel room with little memory of the previous night’s revelry. And again there is a missing companion: Teddy (Mason Lee son of Ang) the brother-in-law to be. (Poor Justin Bartha is once again relegated to the sidelines popping up now and then to push the plot forward via cell phone.)
The amnesiac/investigative angle of the first Hangover made for a refreshing twist on the contemporary men-behaving-badly comedy. Repeated here its effect is arguably the opposite: Too often the action feels rote and formulaic. Gone is any hint of surprise an aspect so crucial to good comedy and a huge part of the first film’s appeal. Key comic set pieces – a tussle with monks at a Buddhist temple a visit to a transsexual brothel a car chase involving a drug-dealing monkey – reveal themselves to be merely variations of memorable bits from the first film.
Tonally Part II is darker cruder and a bit nastier than its predecessor. Female characters never a priority in the first film are further marginalized in the sequel. (The only woman with significant dialogue a Bangkok prostitute also happens to have a penis. I’ll let you ponder the implications of that one.) The three leads Helms Cooper and Galifianakis still work well together and despite the inferior material enough of their chemistry remains to make the proceedings bearable – and occasionally funny. But their characters feel somehow degraded reduced to coarse caricatures of their former selves. Speaking of caricature Mr. Chow (Ken Jeong) the fey faux-gangsta villain of the first film returns in an expanded capacity in the sequel his garbled hip-hop slang more gratuitous – and more grating – than before.
I can’t help but wonder what might have been if a planned cameo by Mel Gibson playing a tattoo artist hadn’t been scrapped reportedly due to objections by Galifianakis. Liam Neeson Gibson’s replacement apparently proved ineffectual in his first go-round and when he wasn't available for re-shoots his scene was eventually shot with Nick Cassavetes in the role. In its existing incarnation the scene is purely functional a chunk of forgettable exposition. The presence of Gibson an actor of not inconsiderable comic talent would have at least added an air of unpredictability something the scene – and indeed the movie – sorely lacks.

John Woo's most recent film, the historical epic Red Cliff, went largely unseen here in the states despite it's grand scale of adventure, but the veteran filmmaker is taking all the necessary steps to ensure that his upcoming Flying Tigers will have global appeal. The Hollywood Reporter has learned that Woo is interested in casting Liam Neeson as the star of the WWII aerial combat pic, an ambitious $90 million production which will is planned to be a major IMAX release.
The film would focus on U.S. Army Air Corp Lt. Gen. Claire Lee Chennault - the contentious American officer whose volunteer Flying Tigers squadron trained the first generation of Chinese fighter pilots taking on Japan in WWII. The Flying Tigers flew successful missions around the city of Kunming in Yunnan province against the raiding Japanese and flew supplies to both Nationalist and Communist Chinese forces. Playing opposite whoever is cast as Chennault will be a young Chinese actor in the role of a pilot in training. Woo mentioned the likes of actor Liu Ye, who last appeared in a lead role in Lu Chuan's Nanjing Massacre picture City of Life and Death. Clearly, the American audience will be more interested in whoever will be playing Chennault, so the casting process is key to ensuring the film's success.
“It’s got to be a star but it’s hard to find the right one, because at that time Chennault was almost 50 years old. Ideally, I’ve been thinking of Liam Neeson as the title actor,” Woo said. CAA confirmed it represents Neeson but declined to comment on Flying Tigers. Woo is writing the script with Chris Chow and will co-produce with his longtime partner Terrence Chang of Lion Rock Productions.
Woo has long been one of my favorite foreign filmmakers and it's about time he had a fitting return to mainstream Hollywood cinema. His influence on the action genre is immeasurable - take a look at the works of Quentin Tarantino, Tony Scott and Brett Ratner (just to name a few), then go back and look at The Killer and Hard Boiled to see how profoundly he has effected these artists. I was left in awe by the imagery of Red Cliff and was saddened that it wasn't embraced by the public, but I realize that it was based on a story that most, if not all Americans are unfamiliar with. The equally expansive Flying Tigers focuses on a story that is well known to both Chinese and Americans, and that can only help in drumming up interest in the project. With the production gearing up for a spring start and a late 2011 release, Woo may finally begin the next chapter in his cinematic success story.
Source: THR

A dirty cop and a pair of nice-guy bank robbers set out to prove this weekend that crime does indeed pay.
The $22.5 million collared last weekend by Training Day represents Denzel Washington's biggest opening weekend to date. The highly charged tale of police corruption--featuring Washington in a rare villainous turn--continued to play well during the week, earning $28.6 million through Wednesday. Accordingly, Washington should have the muscle to stop his Siege co-star Bruce Willis from stealing off with the box office crown.
Directed by Barry Levinson, Bandits casts Willis and Billy Bob Thornton as affable crooks who gain celebrity for their unusually method of robbing banks. They hold hostage the bank manager the night before a heist, eat dinner with manager and his family, spend the night at his home, and then force him to let them into the bank in the morning.
Previously, Willis and Thornton's efforts to save the world resulted in 1998's Armageddon, which earned $201 million in the process.
Breaking into banks also should be a profitable venture for Willis and Thornton, though not much as Armageddon or Willis' The Sixth Sense, which made $293.5 million. Bandits' success will likely mirror that of Willis' recent hit comedies rather than his celebrated forays into science fiction and the supernatural. The Whole Nine Yards, with Willis as a hitman, claimed $13.7 million in 1999 and eventually made $57.2 million. Disney's The Kid opened in July 2000 with $12.6 million, with summer audiences pushing it to a $69.6 million gross.
At least one person needs Bandits to enjoy a long and sustained run, and that's Levinson. The Rain Man Oscar winner last tasted success with Wag the Dog, the Hollywood satire about a war concocted to conceal a presidential scandal. Wag the Dog, of course, had the good fortune to open wide in January 1998 just as Monicagate captured a nation's attention and President Clinton had launched military action against terrorist targets in Afghanistan and Sudan. The result: a $43 million hit. Since then, Levinson's directed possibly the worst adaptation of a Michael Crichton novel ever, the waterlogged Sphere, which earned a paltry $37.2 million. Liberty Heights, the fourth of Levinson's semi-autobiographical Baltimore-set comedy-dramas, made $3.7 million in early 2000. Levinson's barely released An Everlasting Piece resulted in a lawsuit by its producer, Jerome O'Connor, who claimed that DreamWorks buried the Irish comedy at the request of the British government because of its thorny politics.
Who is Corky Romano? So read the teaser posters for Chris Kattan's new comedy, posters that also prompt the question: Who cares about Corky Romano? Kattan is the latest Saturday Night Live jokester to try his luck as a movie star. It's taken a while for former SNLers Adam Sandler, Rob Schneider and David Spade to establish their silver-screen credentials, so Kattan isn't likely to enjoy instant success. Will Ferrell, the only current SNLer to enjoy a somewhat thriving Hollywood career, seems to have done so by virtue of appearing in anything and everything.
Ferrell and Kattan did dance with disaster with the awful SNL skit-inspired A Night at the Roxbury, which made $30.3 million in the fall of 1998. Kattan's track record also includes the ensemble horror yarn House on Haunted Hill, which made $40.8 million in the fall of 1999, and Monkeybone, whose $5.4 million gross qualifies it as this year's biggest flop.
With Corky Romano already earning dire reviews, and stiff competition in the form of Ben Stiller's still-thriving fashion industry satire Zoolander ($30.2 million through Wednesday), Kattan shouldn't hand that letter of resignation just yet to SNL executive producer Lorne Michaels.
The surprise martial arts smash Crouching Tiger, Hidden Dragon no doubt prompted Miramax to reissue 1993's Iron Monkey, directed by Crouching Tiger action choreographer Yuen Wo Ping. Such releases tend to fare poorly, as witnessed by Miramax's previous attempts to bring to America those annoyingly dubbed versions of Jackie Chan's Hong Kong classics. Last fall's The Legend of Drunken Master, for example, staggered to a pitiful $11.5 million. Iron Monkey does have the advantage of being subtitled--which certainly enhanced Crouching Tiger's statue with the arthouse crowd--but it does lack the presence of a Jackie Chan, Jet Li or Chow Yun-Fat.
Miramax must make do with the popularity of Serendipity, which should enjoy a long and lasting affair with audiences looking for a romantic getaway from the U.S. bombing of Afghanistan. Through Wednesday, John Cusack and Kate Beckinsale have wooed $16.5 million in sales. Beckinsale's Pearl Harbor may have made more on its opening day, but no one went to see the expensive World War II epic for its romantic interludes. Serendipity is outpacing Cusack's bittersweet High Fidelity, which opened in March 2000 with $6.4 million at almost 1,200 theaters and sung its way to $27.2 million. Serendipity does have the advantage of now being in 2,600 theaters.
Don't Say a Word should continue to lose its audience to Training Day and soon to Bandits. Michael Douglas enjoyed his biggest opening weekend gross with Don't Say a Word, but the white-collar thriller won't stand out as one of his most memorable in terms of box office. Having collected $34.3 million through Wednesday, Don't Say a Word looks set to surpass The Game ($48.2 million) but will fail to out do A Perfect Murder ($67.6 million). That's a far cry from Basic Instinct's $117.7 million or Disclosure's $83 million.
Leelee Sobieski certainly learned her lesson about starring in two very disposable and oft-delayed teen-targeted thrillers in a row. The Duel-like Joy Ride, costarring Paul Walker and Steve Zahn, spluttered its way to a $7.3 million opening and has just $9.3 million through Wednesday. That's somewhat better than Sobieski's The Glass House, which opened after last month's terrorist attacks to a very weak $5.7 million and has since collected $16.6 million. Sobieski returns this weekend--and clearly not soon enough--to the arthouse circuit with My First Mister costarring Albert Brooks, a generation-bending variation of The Odd Couple.
Seems the kids failed to take much notice of Max Keeble's Big Move. Keeble has pocketed $6.6 million to date, and will likely end up as filler on the Disney Channel much sooner than later.
Hearts in Atlantis will join The Shawshank Redemption as another underachiever based on one of Stephen King's more mature tales. Shawshank managed to make its unremarkable $28.2 million solely on the strength of its modest Oscar campaign. With its less-than-enthusiastic reviews and $17.6 million gross, the supernatural Anthony Hopkins vehicle will have a tough time climbing to the same lowly height.
Barring a last-minute rally, summer holdovers Rush Hour 2 and The Others could finally drop out of the Top 10 this weekend. Rush Hour 2 ranks as the year's second-highest grossing film, with $221.9 through Wednesday.
The Others remains one of the year's biggest surprises, having enjoyed a lengthy run thanks to its twists and turns. With $91.1 million through Wednesday, the modestly marketed ghost story swept past Nicole Kidman's other summer entry, the lavishly hyped, over-praised and commercially successful Moulin Rouge, with relatively ease. Divorce has obviously been good to Kidman, at least professionally.

'Twas the month before Christmas When all through the studios Execs were stirring, with high hopes and fear, Giant posters were hung and trailers rolled out All in hopes that the public would soon be in the movie houses.
Come this December moviegoers can expect Flicks from Kevin Costner, as well as from Mel, But let's not forget there're also Meg and Russell Plus other big names like Hanks and Cage.
So without further ado Here's our list Of all the high-profile films that are coming To accompany you through the month of December.
DEC. 1 No major releases are coming out on the first Friday of the month.
DEC. 8
"Proof of Life": From the set of this movie came the romance between Meg Ryan and Russell Crowe. If that's not enough to go see the film, it's about an American hostage negotiator (Crowe) who falls in love with the wife (Ryan) of the man he's trying to rescue.
"Vertical Limit": But didn't Sylvester Stallone already do this in "Cliffhanger"? Oh well. In this mountain-climbing flick, Chris O'Donnell plays a retired climber who's sucked back to the sport after his sister becomes trapped on K-2, the world's second-highest mountain.
"Dungeons and Dragons": Geeks rejoice. The live-action adaptation of the role-playing game stars Jeremy Irons as the evil wizard who's trying to dethrone the young empress played by "American Beauty's Thora Birch.
Also look for in limited release: Director Ang Lee's Chinese swordsmen pic with Chow Yun-Fat and Michelle Yeoh -- "Crouching Tiger, Hidden Dragon." It was an audience favorite at this year's Cannes Film Festival.
DEC. 15
"What Women Want": No, it doesn't star Christina Aguilera (she's a girl, after all), but it does have Mel Gibson, Helen Hunt, Bette Midler and Lauren Holly in a comedy wherein an ad exec (Gibson) gains the ability to hear what women are thinking.
"Dude, Where's My Car?": It's "Beavis and Butthead" meets "Road Trip." After a late night of heavy partying, two stoners (Ashton Kutcher and "Road Trip" alumnus Seann William Scott) realize that they have forgotten where they parked their car.
"The Emperor's New Groove": Featuring the voices of David Spade and John Goodman, Disney's 39th full-length animated feature follows a ruthless emperor who's been transformed into a llama. Go figure.
Also look for in limited release: "Chocolat" starring Johnny Depp and Juliette Binoche and directed by "The Cider House Rules'" Lasse Hallstrom.
DEC. 20
"Thirteen Days": Rusty on the history of U.S.-Cuban relations? The Kevin Costner starrer is an intense look at the two-week Cuban Missile Crisis that took place in October 1962.
Also look for in limited release: "Finding Forrester" with Sean Connery playing mentor to an aspiring writer, and "The Gift", which marks the return of Oscar winner Hilary Swank ... and Keanu Reeves as a wife beater.
DEC. 22
"Cast Away": Tom Hanks plays a FedEx worker stranded on a deserted island after a plane crash, and Helen Hunt plays his fiancee. Hanks lost weight for this role, which is likely to draw audiences still keen on CBS' summer phenomenon "Survivor."
"Wes Craven Presents: Dracula 2000: Director Wes Craven would like you to know that Christmas inspires horror. His Y2K Dracula reinterpretation has Christopher Plummer tangling with the bloodsucking one over his kidnapped daughter.
"Family Man": Sounds like an "It's a Wonderful Life" redux. In this "what if" flick, Nicolas Cage plays a man who gets the chance to see what his life would have been like had he married his college sweetheart, as played by Mrs. David Duchovny, Tea Leoni.
"Miss Congeniality": She's baaack! After taking on a dramatic role in the alcohol rehab film "28 Days," Sandra Bullock returns to comedy by playing an FBI agent who goes undercover in a beauty pageant to thwart a terrorist attack. Guess the real acting stretch will be transforming cutesy Bullock into an ugly duckling.
Also look for in limited release: The Coen Brothers' "O Brother, Where Art Thou?" with George Clooney and renowned playwright-director David Mamet's new comedy State and Main with Alec Baldwin, Sarah Jessica Parker and William H Macy.
DEC. 25
"All the Pretty Horses": Directed by Billy Bob Thornton," this cowboy tale stars Matt Damon (in a role passed on by Leonardo DiCaprio) as a young, rebellious youth who falls in love with the daughter of a wealthy Mexican rancher (Penelope Cruz), but with not so happy results.
Also look for in limited release: "Erin Brockovich" helmer Steven Soderbergh's new drug trade flick "Traffic" with newlyweds Michael Douglas and Catherine Zeta-Jones and the Oscar buzz gothic "Shadow of the Vampire" with John Malkovich and Willem Dafoe.

Hollywood's advance radar system fizzled this weekend as "15 Minutes" failed to oust "The Mexican" from first place.
Although insiders were right in predicting a sharp second week drop for DreamWorks' R-rated drama "The Mexican," they were wrong about it losing top honors. "Mexican" held on to first place with a less sexy estimated $12.13 million (-40%) at 2,959 theaters (+8 theaters; $4,100 per theater). Its cume is approximately $38.3 million.
"Mexican" reportedly only cost about $40 million since its two superstars worked for much less than their usual salaries.
Directed by Gore Verbinski, "Mexican" stars Brad Pitt and Julia Roberts.
New Line's R-rated drama "15 Minutes" kicked off in second place with a solid estimated $10.48 million at 2,337 theaters ($4,482 per theater).
"Minutes" had the highest per-theater average for any film playing in wide release last weekend.
Written and directed by John Herzfeld, "Minutes" stars Robert De Niro and Edward Burns.
Insiders had been talking about a $15-20 million opening that would have put "Minutes" in first place.
"The picture's got a message and the message was resonating with the older demo and obviously not with the younger one," New Line distribution president David Tuckerman said Sunday morning.
"The tracking showed that it was going to open higher than (it did). Although, with the definite interest numbers (being lower), it sort of told you that (even with) the tracking numbers for first choice and all the rest of it, because of the (limited) interest it was going to (open) lower."
Warner Bros.' PG-rated family appeal comedy "See Spot Run" from Village Roadshow Pictures was still barking loudly in third place in its second week with an estimated $6.6 million (-32%) at 2,656 theaters (theater count unchanged; $2,485 per theater). Its cume is approximately $17.9 million.
Reportedly made for only about $15 million, "Spot" should be profitable in theaters as well as in home video.
Directed by John Whitesel, "Run" stars David Arquette.
MGM and Universal's R-rated thriller "Hannibal" fell two rungs to fourth place in its fifth week with a less delicious estimated $5.7 million (-44%) at 2,947 theaters (-325 theaters; $1,934 per theater). Its cume is approximately $151.0 million, heading for $175 million in domestic theaters.
Directed by Ridley Scott and produced by Dino De Laurentiis, Martha De Laurentiis and Ridley Scott, "Hannibal" stars Anthony Hopkins and Julianne Moore.
Paramount's PG-13-rated comedy "Down to Earth" dropped one peg to fifth place in its fourth week with a less amusing estimated $5.5 million (-30%) at 2,521 theaters (theater count unchanged; $2,182 per theater). Its cume is approximately $51.0 million.
Directed by Chris Weitz and Paul Weitz, "Earth" stars Chris Rock.
"I think it's (going to get to) $65 million or so or maybe it might struggle to $70 million," Paramount distribution president Wayne Lewellen said Sunday morning.
"It held up really better than I thought. We're only off 30%. I was figuring a 35% drop with the De Niro picture coming in."
Miramax's PG-13-rated youth appeal comedy "Get Over It" arrived in sixth place to a calm estimated $4.4 million at 1,742 theaters ($2,525 per theater).
Directed by Tommy O'Haver, "Get" stars Kirsten Dunst, Ben Foster, Melissa Sagemiller, Sisqo, Shane West, Colin Hanks, Swoosie Kurtz, Ed Begley Jr. and Martin Short.
Sony Pictures Classics' Oscar-contending, PG-13-rated action adventure "Crouching Tiger, Hidden Dragon" fell two slots to seventh place in its 14th week, still showing strong legs with an estimated $4.3 million (-12%) at 1,756 theaters (+5 theaters; $2,450 per theater). Its cume is approximately $94.6 million.
"Tiger" is nominated for 10 Oscars, including Best Picture, Best Foreign Language Film and Best Director. Director Ang Lee won the Directors Guild of America's feature directing award Saturday night, making him the favorite to win the Best Director Oscar.
Directed by Ang Lee, "Dragon" stars Michelle Yeoh and Chow Yun-Fat.
"It looks good. Soon we're going to be at that Century Mark," Sony Pictures Classics sales vice president Tom Prassis said Sunday morning.
When will "Tiger" hit $100 million? "I'd like to say next weekend, but most likely it's going to be during the week after that."
How far does it go if it wins the Best Picture Oscar and where does it wind up if it doesn't win? "Well, if it wins Best Picture, we're obviously going to be on the screen a lot longer -- probably, I'd say, another one or two months. It probably would go up to $120-125 million. If we don't win Best Picture, we'll still probably be on the screen because people still have a need to see the film.
"I was in Vegas this past week (for ShoWest) and talked to so many exhibitors who don't normally go to the movies, who are going two or three times to see this film and taking friends to see it. And then I've talked to people from all walks of life who have seen it three or four times."
Insiders see "Tiger" as having a strong shot at winning Best Picture, particularly in view of Ang Lee's DGA victory. But if it doesn't win, Prassis said, "It hangs on (but) obviously it's not going hang on the way it would if it did win." In that case, he sees it winding up with $110-115 million.
USA Films' R-rated, Oscar-contending drama "Traffic" dropped two notches to eighth place in its 11th week, still holding very well with an estimated $3.87 million (-11%) at 1,678 theaters (+40 theaters; $2,304 per theater). Its cume is approximately $97.5 million.
"Traffic" is nominated for five Oscars, including Best Picture and Best Director.
Directed by Steven Soderbergh, "Traffic" stars Michael Douglas, Don Cheadle, Benicio Del Toro, Dennis Quaid and Catherine Zeta-Jones.
"It's the Academy Awards (benefit) -- down 11%. The drops in the Academy Awards trend continue to be impressive. Last weekend it was down 16% and the weekend before it was down 18%, so you can see the drops diminishing," USA distribution president Jack Foley said Sunday morning.
"At the end of the week, we'll be at $98.5 million and Saturday we'll get there (at $100 million). Next Sunday morning, we'll be at $100 million and probably after the weekend we'll be at $101 million."
Asked for a best and worst case prediction -- winning or not winning the Best Picture Oscar -- of where the film's gross goes, Foley replied, "Because it's at $100 million within the next week, you have a nice little fit in there for maybe an accelerated run to the Academy Awards, which will deliver maybe $6 million. So that's $107 million. If it wins, it could be up another $15 million -- $120-125 million."
If "Traffic" doesn't win Best Picture, he added, "It will probably get to maybe $110-115 million. The dollar houses are in there. In the dollar houses, you can throw in another $3 million no matter where you are. So if it peters out at like $110 million in first run, then you're looking at $3-5 million from the dollar houses, so it would be like $113-115 million."
Miramax's PG-13-rated, Oscar-contending romantic comedy drama "Chocolat" fell two rungs to ninth place in its 13th week, holding better than any of the weekend's wide releases with an estimated $3.8 million (-10%) at 1,928 theaters (+71 theaters; $1,970 per theater). Its cume is approximately $51.0 million.
"Chocolat" is nominated for five Oscars, including Best Picture.
Asked where "Chocolat" is heading, Miramax senior vice president, marketing David Kaminow said Sunday morning, "I think $65-70 million." If it should win Best Picture -- an upset victory that some Hollywood handicappers argue remains a possibility -- Kaminow added, "Why not $100 million?"
BR>Directed by Lasse Hallstrom, "Chocolat" stars Juliette Binoche, Judi Dench, Alfred Molina, Lena Olin and Johnny Depp.
Rounding out the Top Ten this week was Buena Vista/ Disney's G-rated animated feature "Recess: School's Out," down two notches in its fourth week, with a less playful estimated $2.2 million (-44%) at 2,339 theaters (-164 theaters; $946 per theater). Its cume is approximately $30.5 million.
Directed by Chuck Sheetz, "Recess" was produced by Sheetz and Stephen Swofford and executive produced and created by Paul Germain and Joe Ansolabehere.
OTHER OPENINGS Miramax's R-rated drama "Blow Dry" opened to a quiet estimated $0.25 million at 157 theaters ($1,600 per theater). Its cume after five days is approximately $0.3 million.
Directed by Paddy Breathnach, it stars Alan Rickman, Natasha Richardson, Rachel Griffiths, Rachael Leigh Cook, Josh Hartnett, Bill Nighy, Rosemary Harris and Heidi Klum.
Paramount Classics' PG-13-rated comedy "Company Man" opened to a poor estimated $0.078 million at 103 theaters ($760 per theater).
Written and directed by Peter Askin and Douglas McGrath, "Company" stars Alan Cumming, Anthony LaPaglia, Denis Leary, Douglas McGrath, John Turturro and Sigourney Weaver.
Shooting Gallery's unrated comedy "When Brendan Met Trudy" arrived to a dull estimated $0.038 million at 14 theaters ($2,715 per theater).
Directed by Lynda Myles, it stars Peter McDonald and Flora Montgomery.
SNEAK PREVIEWS MGM held 627 sneak previews Saturday night of its PG-13-rated comedy "Heartbreakers" from Davis Entertainment. The film, which was successfully screened for exhibitors attending the ShoWest convention in Las Vegas last week, will be previewed again next Saturday night (Mar. 17) at about 1,000 theaters.
"We averaged 50% attendance," MGM worldwide distribution president Larry Gleason said Sunday morning. "We had really good exit polls. 55% female, 45% male. 54% of the audience was over 30 and 46% were under 30. Definite recommend was 66%, which is a good number against a 50% average. And the Top Two Boxes (excellent and very good) were 78%. It's almost identical to the exit polls we had for 'The Thomas Crown Affair' in August of 1999.
"It's just what we wanted to do. We need to get the word out on the picture. So we're doing it again next week. We'll increase it to up to 1,000 (theaters) next week as per plan; and by the time we open in two weeks, we should be in good shape."
"Heartbreakers" opens Mar. 23 at about 2,500 theaters.
Directed by David Mirkin and produced by John Davis and Irving Ong, "Heartbreakers" stars Sigourney Weaver, Jennifer Love Hewitt, Ray Liotta, Jason Lee, Jeffrey Jones and Gene Hackman.
EXPANSIONS On the expansion front, this weekend saw Sony Pictures Classics go wider with its R-rated drama "Pollock," grossing in its fifth week an encouraging estimated $0.71 million (+7%) at 155 theaters (+51 theaters; $4,611 per theater). Its cume is approximately $2.7 million.
"Pollock" received Oscar nominations for Best Actor (Ed Harris) and Best Supporting Actress (Marcia Gay Harden).
Directed by Ed Harris, "Pollock" stars Ed Harris and Marcia Gay Harden.
USA Films' PG-rated drama "In the Mood For Love" continued to expand in its sixth week with a still encouraging estimated $0.26 million (-5%) at 73 theaters (+9 theaters; $3,563 per theater). Its cume is approximately $1.6 million.
Written and directed by Wong Kar-Wai, "Love" stars Tony Leung and Maggie Chung.
"'In the Mood' continues to do a nice amount of business," USA distribution president Jack Foley said Sunday morning. "We're getting chunks of grosses, a quarter of a million dollars weekend after weekend. It's a surprisingly adorable picture for a small beautiful art film. I think we'll ultimately get to $3 million on it and that would delight me."
Universal Focus' R-rated thriller "The Caveman's Valentine" widened in its second week with a quiet estimated $0.19 million at 59 theaters (+43 theaters; $3,245 per theater). Its cume is approximately $0.3 million.
Directed by Kasi Lemmons, "Valentine" stars Samuel L. Jackson.
USA Films' R-rated reality TV satire "Series 7" added theaters in its second week with an okay estimated $0.027 million (-6%) at 4 theaters (+2 theaters; $6,700 per theater). Its cume is approximately $0.070 million.
Written and directed by Daniel Minahan, "Series" stars Brooke Smith, Glenn Fitzgerald, Mary Louise Burke, Richard Venture, Michael Kaycheck and Merrit Wever.
WEEKEND COMPARISONS Key films -- those grossing more than $500,000 -- took in approximately $68.15 million, down about 16.65% from the comparable weekend last year when key films grossed $81.41 million.
This weekend's key film gross was down about 17.94% from last weekend this year when key films did $82.69 million.
Last year, Buena Vista's opening week of "Mission To Mars" was first with $22.86 million at 3,054 theaters ($7,484 per theater); and Artisan Entertainment's opening week of "The Ninth Gate" was second with $6.62 million at 1,586 theaters ($4,176 per theater). The top two films one year ago grossed $29.5 million. This year, the top two films grossed an estimated $22.6 million.

'Twas the weekend before Christmas, and all through the movie house, all the kids were eager, to see the talking mouse.
As usual, movie attendance was soft during the final holiday shopping weekend of the year. The box office was dominated by two rodents: one of them the little talking mouse who stars in Columbia Pictures' G-rated "Stuart Little," the other, the ubiquitous Disney mouse, which had three films in the weekend's top five.
In its opening weekend, "Stuart Little," an adaptation of the popular, half-century-old book by E.B. White featuring the voice of Michael J. Fox as the titular creature, grossed an estimated $15.4 million in 2,878 theaters, and it had the highest per-theater average of any movie in wide release at $5,351. Although a $15 million gross won't set any records, studio officials are pleased that the film opened strong during the pre-Christmas weekend, which is typically slow, said Jeff Blake, Columbia president of worldwide distribution.
"Clearly, for a family film to open this well in the doldrums of the holiday season bodes very well," Blake said Sunday morning.
"No film that appeals to the whole family has opened this well and not done $100 million," he added, noting that other kid pics have had lower opening-weekend grosses and gone on to hit the $100 million mark, such as Columbia-TriStar's "Jumanji" (1995), which made just $11 million during its first weekend.
Blake added that "Stuart Little," with all of its ancillary merchandising -- it is currently the featured window display at New York's tony FAO Schwartz toy store -- should do even better once school lets out for Christmas vacation.
"Business from here on in figures to be great, so we're thrilled that we did get off to this kind of level. It shows that 'Stuart Little' has franchise potential, and $15.4 million is quite good, especially when you have to get ahead of 'Toy Story 2' to do it."
For the second weekend in a row, the No. 2 film at the box office was the decidedly nonchild-oriented "The Green Mile," the R-rated drama from Warner Bros. And Castle Rock Entertainment that stars Tom Hanks as a death row prison guard who befriends a condemned man gifted with healing powers, adapted from Stephen King's serial novels. "The Green Mile" pulled in $12.63 million on 2,875 screens in its second weekend of release, for an average of $4,383 per theater and a cumulative estimated gross of $36.5 million.
Movies from the Disney studios occupied the third, fourth and fifth ranks at the box office this weekend, not surprisingly led by "Toy Story 2." The G-rated animated feature, a co-production of Disney's Buena Vista Entertainment division and Pixar Animation, continued to perform strongly in its fifth week of release, grossing an estimated $12.1 million in 3,228 theaters for a per-screen average of $3,733.
"Toy Story 2" has now grossed an estimated $156.3 million to date. The picture, which features the voices of Tom Hanks, Tim Allen, Joan Cusack, Kelsey Grammer, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts, Wayne Knight, Laurie Metcalf, Estelle Harris and R. Lee Ermey, is expected to top out somewhere from $250 million to $275 million, an industry distribution executive said.
The original "Toy Story" grossed about $190 million in the United States and Canada in 1995 and about $360 million worldwide and sold more than 22 million videocassettes in the United States. If "Toy Story 2" hits $200 million before the end of the year, Buena Vista will become the first-ever distributor to have two $200 million-grossing films in the same calendar year ("The Sixth Sense" passed $200 million in September and has now grossed more than $275 million in 20 weeks of release).
The fourth-best grossing film of the weekend was "Deuce Bigalow: Male Gigolo," the R-rated comedy from Buena Vista/Touchstone that stars "Saturday Night Live" alumnus Rob Schneider as a bumbling male prostitute. The film apparently has stronger legs than may have been expected, grossing an estimated $8.3 million in 2,162 theaters, with a per-screen average of $3,843, a drop-off of about 32 percent. "Deuce" has now grossed about $24 million in two weeks.
Tied for fourth (although it had a lower per-screen average than "Deuce") was "Bicentennial Man," the new PG-rated sci-fi family fantasy produced by Disney's Buena Vista division and featuring Robin Williams and director Chris Columbus, the talents behind the hit comedy "Mrs. Doubtfire." "Bicentennial Man" played in 2,518 theaters during its opening weekend, grossing an estimated $8.3 million for a per-screen average of $3,302.
That's far less than "Patch Adams," another family oriented feature starring Williams, which opened in December 1998 and grossed $25.2 million during its first weekend, averaging more than $9,300 per screen.
"We're pretty excited to have third-, fourth- and fifth-best grossing films of the weekend. No other company has done that this year," said Chuck Viane, Buena Vista distribution president. "Obviously, this has set us up very well through the holidays.
"Every day between now and New Year's Day is a bigger grossing day, so obviously we're very happy."
Despite the soft opening for "Bicentennial Man," which reportedly cost about $100 million to make and features a futuristic story, high-tech special effects and Williams portraying a sympathetic robot that longs to become human, Viane said Disney is not worried.
"Not at all, I think it's a wonderful start," he said. "You've got to figure our core audience is a bit predisposed to the holiday shopping and all that. I think you'll see a building of momentum, and then the day after Christmas, watch out."
As for the lingering success of "Deuce Bigalow," Viane added: "It's the only picture out there for its core audience. They are not being distracted by any other competitive films. I think it's got a free ride through the whole holidays."
In its opening weekend, 20th Century Fox's "Anna and the King," starring Academy Award winner Jodie Foster and Hong Kong action star Chow Yun-Fat, placed sixth with $5.1 million in 2,134 theaters for a $2,390 per-screen average. That's comparable to the last Jodie Foster vehicle to open during the holidays, "Nell," which premiered in December 1994 and made $4.6 million during its opening weekend.
By comparison, "Contact," which opened in July 1997, made more than $20 million during its opening weekend and went on to gross more than $100 million total, and "Maverick," which opened in May 1994, made $17.2 million during its opening weekend and eventually grossed more than $101 million.
"It's a lot less than we expected. The whole business was slow this weekend, when the adults are finished shopping and when they start going back to the theaters next weekend, then we'll see what happens," Tom Sherak, 20th Century Fox Domestic Film Group chairman said on Sunday.
MGM's PG-13-rated "The World is Not Enough" dropped from fourth to seventh at the box office, earning an estimated $4 million at 2,625 theaters for an average of $1,524 per screen, a decline of about 35 percent compared with the previous week. The 19th James Bond feature, which stars Pierce Brosnan as Agent 007, has grossed a cumulative total of $105.3 million in its five weeks of release.
The No. 8 film at the box office was "Sleepy Hollow," the R-rated gothic retelling of the Headless Horseman saga from Paramount Pictures and director Tim ("Batman") Burton, which dropped from sixth place the previous weekend. "Hollow" grossed $3 million in 2,564 theaters for a per-screen average of $1,170, a drop-off of 36 percent. The $80 million movie has grossed an estimated $85.9 million since it was released five weeks ago.
Dropping from fifth to ninth was Universal's apocalyptic, millennium-themed R-rat d thriller "End of Days" starring Arnold Schwarzenegger and Gabriel Byrne and directed by Peter Hyams. "Days" pulled in $2.9 million in 2,460 theaters for a per-screen average of $1,179, a drop-off of 39 percent. The film, which cost anywhere from $80 million to $150 million according to contradicting published reports, has grossed an estimated $57.8 million in four weeks of release.
Rounding out the top 10 was "The Bone Collector," Universal's R-rated serial-killer thriller starring Denzel Washington and Angelina Jolie, which dropped from the No. 7 spot the previous weekend. "The Bone Collector," which has grossed about $62.4 million in the seven weeks since it was released, grossed an estimated $1 million at 1,115 theaters, for a per-screen average of $897, a drop-off of 41 percent.
OTHER OPENINGS
Weekend 51 also saw the arrival of New Line's "Magnolia," the new film by director Paul Thomas Anderson ("Boogie Nights," "Hard Eight") and starring an ensemble cast that includes Tom Cruise, Jason Robards, Julianne Moore and William H. Macy. The three-hours-plus movie opened in limited release in New York and Los Angeles for Academy Award consideration and pulled in $184,000 in seven theaters for a per-screen average of $26,286.
Also making its debut in limited fashion this week was USA Films' "Topsy-Turvy," a film by acclaimed director Mike Leigh ("Secrets and Lies") about the lives of writer-composer team Gilbert and Sullivan and starring Allan Corduner, Dexter Fletcher, Sukie Smith, Roger Heathcott and Wendy Nottingham. "Topsy-Turvy" grossed $29,891 at two theaters in New York and Los Angeles for a per-screen average of $14,946.
Box office returns were not immediately available for two other films that opened in Los Angeles for Oscar consideration: Samuel Goldywn Films' "Onegin," starring Ralph Fiennes, Liv Tyler and Martin Donovan and Fine Line Features' "Simpatico," starring Sharon Stone, Jeff Bridges, Nick Nolte, Catherine Keener and Albert Finney.
WEEKEND COMPARISONS
Overall, weekend 51's key films (those grossing about $500,000 and up) took in approximately $74 million, compared with about $71 million for the key film grosses of weekend 50, an increase of about 4 percent. Compared with the same weekend last year, when key films grossed about $71.3 million, this weekend's totals also represented an increase of 4 percent.
The top five films of weekend 51 in 1998 were Warner Bros.' "You've Got Mail" ($18.85 million in 2,691 theaters, $6,848 per theater), DreamWorks' "The Prince of Egypt" ($14.5 million in 3,118 theaters, $4,658 per theater), Disney/Buena Vista's "A Bug's Life" ($10 million in 2,773 theaters, $3,602 per theater), Paramount's "Star Trek: Insurrection" ($8.3 million in 2,649 theaters, $3,137 per theater) and Warner Bros.' "Jack Frost" ($5.1 million in 2,152 theaters, $2,373 per theater).
STUDIO MARKET SHARES
Based on business by key films, the top distributors in weekend 51 were the following:
Buena Vista was first with four films ("Toy Story 2," "Deuce Bigalow: Male Gigolo," Bicentennial Man" and "The Sixth Sense") grossing a combined $29.1 million or 39 percent of the market.
Sony was second with one film ("Stuart Little") grossing $15.4 million or about 21 percent of the market.
Warner Bros. was third with one film ("The Green Mile") grossing $12.6 million or 17 percent of the market.
Twentieth Century Fox was fourth with one film ("Anna and the King") grossing $5.1 million or 7 percent of the market.
MGM was fifth with one film ("The World is Not Enough") grossing $4 million or 5.4 percent of the market.
Universal was sixth with two films ("End of Days," "The Bone Collector") grossing a combined $3.9 million or 5.3 percent of the market.
Paramount was seventh with one film ("Sleepy Hollow") grossing $3 million or 4 percent of the market.
USA Films, with one film ("Being John Malkovich") grossing $730,000, and Lion's Gate, with one film ("Dogma") grossing $625,000, each had less than 1 percent of the market.